Hello. I just successfully uploaded and self-published my short story, Murder on Laodicea Street, onto Kindle. If you are interested, you can buy my short story from the online Kindle stores for $0.99. Or you can "check it out" from the Kindle lending library. Either way is appreciated.
This is merely a "test-run" and a way for me to get my feet wet in the self-publishing world. I plan to self-publish a compilation of my short stories (which will include Murder on Laodicea Street) in the near future so readers will get more bang for their buck (or in this case $0.99).
Even though I am focusing mainly on writing short stories, I will eventually be writing novellas/novels and will self-publish those too.
In the meantime, though, check out my short story on Kindle. If you like it, then please, share it with your friends and other Kindle users. Happy readings!
Friday, December 30, 2011
Thursday, December 29, 2011
Dictionary: Allusion
Allusion:
Allusions are a passing or casual reference; an incidental mention of something, either directly or by implication-- which adds a feeling of authenticity or creates an immediacy within your story. Allusions may range from references that you would expect every reader to recognize to subtle references that only your best audiences would delight in.
James Patterson, for example, uses historical and literary allusions in his book, Maximum Ride: the Fugitives, which adds depth/understanding to his story. Among these allusions are references to Thumper, Tarzan, the Terminator, Stalin, the British Invasion, Harry Potter, and Star Wars robot character, C3PO. The references bring more to the story's characters and to the situation within the story.
Indie publishing star, Amanda Hocking (amandahocking.blogspot.com), alludes to "Puff, the Magic Dragon" in her paranormal book entitled, Honalee.
Be aware that some allusions may be too obscure, then, the audience will miss the reference completely. Usually, the safest way to include allusion is to attach detail of accuracy. If you are referencing an Adele song, for example, describe how the character listening to the song feels, what memories does it bring up, etc. The point is, the details supply the reader with some knowledge of the allusion, making them more familiar with, what could be to the reader, an unfamiliar allusion.
There are mixed feelings amongst writers when it comes to allusions. Some believe it adds texture to the story, and those in opposition think allusions are a cheap trick that will make the story a fad that is eventually outdated.
In the end, it's up to the writer to use allusions where it makes their story stronger. And the writer should resist allusions where it would be a cop-out from having to do your research for more specific detailed, accuracy.
Allusions are a passing or casual reference; an incidental mention of something, either directly or by implication-- which adds a feeling of authenticity or creates an immediacy within your story. Allusions may range from references that you would expect every reader to recognize to subtle references that only your best audiences would delight in.
James Patterson, for example, uses historical and literary allusions in his book, Maximum Ride: the Fugitives, which adds depth/understanding to his story. Among these allusions are references to Thumper, Tarzan, the Terminator, Stalin, the British Invasion, Harry Potter, and Star Wars robot character, C3PO. The references bring more to the story's characters and to the situation within the story.
Indie publishing star, Amanda Hocking (amandahocking.blogspot.com), alludes to "Puff, the Magic Dragon" in her paranormal book entitled, Honalee.
Be aware that some allusions may be too obscure, then, the audience will miss the reference completely. Usually, the safest way to include allusion is to attach detail of accuracy. If you are referencing an Adele song, for example, describe how the character listening to the song feels, what memories does it bring up, etc. The point is, the details supply the reader with some knowledge of the allusion, making them more familiar with, what could be to the reader, an unfamiliar allusion.
There are mixed feelings amongst writers when it comes to allusions. Some believe it adds texture to the story, and those in opposition think allusions are a cheap trick that will make the story a fad that is eventually outdated.
In the end, it's up to the writer to use allusions where it makes their story stronger. And the writer should resist allusions where it would be a cop-out from having to do your research for more specific detailed, accuracy.
Wednesday, December 28, 2011
Dictionary: Allegory
Allegory:
Allegory is a representation of an abstract or spiritual meaning through concrete/material forms. It is the figurative treatment of one subject under the guise of another. George Orwell's book, Animal Farm, for example, is an allegory. Orwell represents revolutions in general, and most specifically the Russian revolution, through the revolt of the farm animals.
Chaucer's A Knight's Tale, found in The Canterbury Tales, has been interpreted/suggested as allegory. For example, the characters Arcite and Palamon are thought to represent the active and contemplative life.
Beware, however, when writing allegorical fiction. All too often writers have abstract ideas, but no story. If that is the case, then your allegorical fiction will be a bunch of talking ideas. In good fiction, the ideas do not drive the story, the story drives the ideas.
Flannery O'Connor, author of Wise Blood and The Violent Bear it Away (among bunch of other famous short stories, essays, and letters), says this about the importance of concrete story over abstract idea:
"They [people who want to write stories] want to write about problems, not people; or about abstract issues, not concrete situations. They have an idea, or a feeling, or an overflowing ego, or they want to Be A Writer, or they want to give their wisdom to the world in a simple-enough way for the world to be able to absorb it. In any case, they don't have a story and they wouldn't be willing to write it if they did; and in the absence of a story, they set out to find a theory or a formula or a technique. (Flannery O'Connor, Mystery and Manners)"
The point O'Connor is trying to express is that ideas do not drive a story. Accuracy (a previous dictionary term), drives the story. What the eye sees from the provided details drives a story. From those concrete details comes ideas.
Allegory is a representation of an abstract or spiritual meaning through concrete/material forms. It is the figurative treatment of one subject under the guise of another. George Orwell's book, Animal Farm, for example, is an allegory. Orwell represents revolutions in general, and most specifically the Russian revolution, through the revolt of the farm animals.
Chaucer's A Knight's Tale, found in The Canterbury Tales, has been interpreted/suggested as allegory. For example, the characters Arcite and Palamon are thought to represent the active and contemplative life.
Beware, however, when writing allegorical fiction. All too often writers have abstract ideas, but no story. If that is the case, then your allegorical fiction will be a bunch of talking ideas. In good fiction, the ideas do not drive the story, the story drives the ideas.
Flannery O'Connor, author of Wise Blood and The Violent Bear it Away (among bunch of other famous short stories, essays, and letters), says this about the importance of concrete story over abstract idea:
"They [people who want to write stories] want to write about problems, not people; or about abstract issues, not concrete situations. They have an idea, or a feeling, or an overflowing ego, or they want to Be A Writer, or they want to give their wisdom to the world in a simple-enough way for the world to be able to absorb it. In any case, they don't have a story and they wouldn't be willing to write it if they did; and in the absence of a story, they set out to find a theory or a formula or a technique. (Flannery O'Connor, Mystery and Manners)"
The point O'Connor is trying to express is that ideas do not drive a story. Accuracy (a previous dictionary term), drives the story. What the eye sees from the provided details drives a story. From those concrete details comes ideas.
Tuesday, December 27, 2011
Movie Review: Mission: Impossible - Ghost Protocol
Mission: Impossible - Ghost Protocol
Director: Brad Bird
Starring: Tom Cruise (Ethan Hunt), Jeremy Renner (Brandt), Simon Pegg (Benji), Paula Patton (Jane)
Tom Cruise returns as IMF super agent, Ethan Hunt, in Mission: Impossible - Ghost Protocol. When Ethan Hunt and his IMF team are implicated in a bombing at the Kremlin, they are forced to go rogue in order to clear their names and save the world from nuclear war between the United States and Russia.
For those who worried about the fourth installment being a flop, like Mission: Impossible 3, you need not worry. What would seem like a typical genre exercise, is not. Cruise brought a fresh take to the series. The plot is not convoluted. The characters have depth beyond one-dimension. And action entertainment aside, the movie is actually funny (on purpose).
These welcomed changes mixed with the usual death defying stunts, cool gadgetry, car chases, espionage, disguises, and yes, Tom Cruise's flawless sprinting form, make Mission: Impossible - Ghost Protocol an unexpectedly fresh and a good movie definitely worth seeing.
Director: Brad Bird
Starring: Tom Cruise (Ethan Hunt), Jeremy Renner (Brandt), Simon Pegg (Benji), Paula Patton (Jane)
Tom Cruise returns as IMF super agent, Ethan Hunt, in Mission: Impossible - Ghost Protocol. When Ethan Hunt and his IMF team are implicated in a bombing at the Kremlin, they are forced to go rogue in order to clear their names and save the world from nuclear war between the United States and Russia.
For those who worried about the fourth installment being a flop, like Mission: Impossible 3, you need not worry. What would seem like a typical genre exercise, is not. Cruise brought a fresh take to the series. The plot is not convoluted. The characters have depth beyond one-dimension. And action entertainment aside, the movie is actually funny (on purpose).
These welcomed changes mixed with the usual death defying stunts, cool gadgetry, car chases, espionage, disguises, and yes, Tom Cruise's flawless sprinting form, make Mission: Impossible - Ghost Protocol an unexpectedly fresh and a good movie definitely worth seeing.
Saturday, December 24, 2011
Movie Review: The Girl with the Dragon Tattoo
The Girl with the Dragon Tattoo
Directed by: David Fincher
Starring: Daniel Craig (Mikael Blomkvist), Rooney Mara (Lisbeth Salander)
Christmas came early this year--December 21st, 2011, to be exact--with the release of David Fincher's adaptation of The Girl with the Dragon Tattoo. Based on Stieg Larsson's first of three mystery/thrillers from his international bestselling Millennium trilogy, the story follows journalist Mikael Blomkvist (Daniel Craig) who is recruited by Henrik Vanger (Christopher Plummer), a wealthy patriarch, to investigate the disappearance of his niece that has haunted him for over forty years. Aiding Blomkvist in his search is young computer hacker, with a photographic memory and dragon tattoo, Lisbeth Salander (Rooney Mara). Together, the two uncover the truth, facing danger along the way.
Okay, the inevitable questions every fan is going to ask: how does Fincher's film compare to the book? How does his film compare to the Original Swedish version?
Well, in regards to the former question, Fincher does a mostly true adaptation of the book... it is just that he decided to cut out some details the book went into. For example, Larsson's book goes into great depth detailing how Blomkvist came by the information that got him convicted for libel. There are literally 70 pages worth of financial jargon no everyday reader would understand. Therefore, I say plus one for Fincher. His cuts are calculated and for the audiences sake (the film is already 158min long).
Another example of "missing" detail--and I quote missing because the detail is in the movie, it is just subtle--is Larsson talks more about Lisbeth's photographic memory. Fincher, however, does not make those characteristics so obvious through a blatant statement. Instead, the audience infers Lisbeth's photographic memory through her actions. I would say the cuts are, simply, good film making. Everything cannot and should not be explained (it would be terribly boring).
Now, the latter question is harder to answer. Mostly because both films have scenes that appear exactly the same. Both films do have their differences, however, and the jury is still out on which style is better. The original Swedish version maintains a creepier and darker overall tone, while Fincher's version is more stylistic (but lacks a final umph). What really sets these movies apart, I believe, are the casted characters. Both Daniel Craig and Rooney Mara fit Larsson's original descriptions (along with a majority of the casted characters), a detail missing in the Swedish version.
The Girl with the Dragon Tattoo is a movie worth seeing in theaters.
Directed by: David Fincher
Starring: Daniel Craig (Mikael Blomkvist), Rooney Mara (Lisbeth Salander)
Christmas came early this year--December 21st, 2011, to be exact--with the release of David Fincher's adaptation of The Girl with the Dragon Tattoo. Based on Stieg Larsson's first of three mystery/thrillers from his international bestselling Millennium trilogy, the story follows journalist Mikael Blomkvist (Daniel Craig) who is recruited by Henrik Vanger (Christopher Plummer), a wealthy patriarch, to investigate the disappearance of his niece that has haunted him for over forty years. Aiding Blomkvist in his search is young computer hacker, with a photographic memory and dragon tattoo, Lisbeth Salander (Rooney Mara). Together, the two uncover the truth, facing danger along the way.
Okay, the inevitable questions every fan is going to ask: how does Fincher's film compare to the book? How does his film compare to the Original Swedish version?
Well, in regards to the former question, Fincher does a mostly true adaptation of the book... it is just that he decided to cut out some details the book went into. For example, Larsson's book goes into great depth detailing how Blomkvist came by the information that got him convicted for libel. There are literally 70 pages worth of financial jargon no everyday reader would understand. Therefore, I say plus one for Fincher. His cuts are calculated and for the audiences sake (the film is already 158min long).
Another example of "missing" detail--and I quote missing because the detail is in the movie, it is just subtle--is Larsson talks more about Lisbeth's photographic memory. Fincher, however, does not make those characteristics so obvious through a blatant statement. Instead, the audience infers Lisbeth's photographic memory through her actions. I would say the cuts are, simply, good film making. Everything cannot and should not be explained (it would be terribly boring).
Now, the latter question is harder to answer. Mostly because both films have scenes that appear exactly the same. Both films do have their differences, however, and the jury is still out on which style is better. The original Swedish version maintains a creepier and darker overall tone, while Fincher's version is more stylistic (but lacks a final umph). What really sets these movies apart, I believe, are the casted characters. Both Daniel Craig and Rooney Mara fit Larsson's original descriptions (along with a majority of the casted characters), a detail missing in the Swedish version.
The Girl with the Dragon Tattoo is a movie worth seeing in theaters.
Friday, December 23, 2011
Dictionary: Advice
Advice:
Advice from others is, naturally, sought after by the author. Typically, the author looks for advice from their loved ones. This is a bad idea. Loved ones will always tend to affirm what you are doing. They will not properly criticize what you write. Also, you as a writer may be limiting yourself because people close to you want to believe you are a certain type of person; hence your writing becomes self conscious, and the potential not fully realized.
Be aware of advice from what your loved ones say. What if someone, a family member or friend, tells you that you cannot write and should give up? Do you quit, then? Get depressed?
Writers should look for advice from people they believe have good taste in fiction (not art, not music, etc.). These people should be sympathetic to what you are doing, knowledgeable, and provide constructive criticism.
Advice from others is, naturally, sought after by the author. Typically, the author looks for advice from their loved ones. This is a bad idea. Loved ones will always tend to affirm what you are doing. They will not properly criticize what you write. Also, you as a writer may be limiting yourself because people close to you want to believe you are a certain type of person; hence your writing becomes self conscious, and the potential not fully realized.
Be aware of advice from what your loved ones say. What if someone, a family member or friend, tells you that you cannot write and should give up? Do you quit, then? Get depressed?
Writers should look for advice from people they believe have good taste in fiction (not art, not music, etc.). These people should be sympathetic to what you are doing, knowledgeable, and provide constructive criticism.
Thursday, December 22, 2011
Dictionary: Accuracy
Hello all. This is the beginning of a new series I will be starting on my blog. The series is called "Dictionary," and will explore in A-Z fashion important pieces that make up good fiction. This series will show the techniques I use in my creative writing, as well as provide helpful advice for writing your own fiction (if that's what you are into). The very first entry in the dictionary is "Accuracy."
Accuracy:
"Accuracy refers to how well writers have observed the world. It means showing respect for the most minute details and the deepest truths of your subjects. If the readers feel that the observations are genuine, then the fictional world comes alive" (Jerome Stern, Making Shapely Fiction).
What is meant, then, is if you are writing a story, say for example a police procedural, the details need to show what the procedures of police are. They cannot be made up details or your audience will not believe in the fictional world you created and think you do not know what you are talking about.
A seemingly less important, but really is important, detail would be writing about Suzy's grandmother making no-bake-bars. The ingredients and the process for making the food should be accurate; otherwise, the audience will not buy into the story.
Fiction can be fiction, but it still has to be built on what we know. If your character gets off a train in Chicago and you write, "Bob arrived at the train station in Chicago, then he walked down main street." The reader will not buy into the story. Give the specific station name. Give the specific street name.
Accuracy applies to everything. This includes actions, feelings, morals, customs, culture, habitat, food, etc. The point is there, just because fiction is "fake" doesn't mean it can be inaccurate.
Fiction requires research in order to write with accuracy.
Accuracy:
"Accuracy refers to how well writers have observed the world. It means showing respect for the most minute details and the deepest truths of your subjects. If the readers feel that the observations are genuine, then the fictional world comes alive" (Jerome Stern, Making Shapely Fiction).
What is meant, then, is if you are writing a story, say for example a police procedural, the details need to show what the procedures of police are. They cannot be made up details or your audience will not believe in the fictional world you created and think you do not know what you are talking about.
A seemingly less important, but really is important, detail would be writing about Suzy's grandmother making no-bake-bars. The ingredients and the process for making the food should be accurate; otherwise, the audience will not buy into the story.
Fiction can be fiction, but it still has to be built on what we know. If your character gets off a train in Chicago and you write, "Bob arrived at the train station in Chicago, then he walked down main street." The reader will not buy into the story. Give the specific station name. Give the specific street name.
Accuracy applies to everything. This includes actions, feelings, morals, customs, culture, habitat, food, etc. The point is there, just because fiction is "fake" doesn't mean it can be inaccurate.
Fiction requires research in order to write with accuracy.
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